Once again, don’t make too much of the rankings here, as I could have cut and pasted all night. I do, however, like the order in which these tracks settled. Look for jams 21-30 next week—there’s that much (plus more) any left to cover! Also, stay tuned next week when I unveil my picks for the sets and shows of the year.

During Leg Two, Phish stuck to a very tight second set rotation. When looking to compile a second leg All-Star team, a few songs—“Light,” “Chalk Dust,” and “Tweezer”—jumped right out. But the 4th and 5th spots on the first team (using the NBA model) weren’t shoo-in selections. After a bit of thought, however, here are my picks.

“Chalk Dust Torture” — Already discussed in an article last week, “Chalk Dust” leapt onto this squad with three outstanding versions in its last three outings of summer, including an all-timer in Colorado. Bursting out of nowhere following two relatively standard versions, “Chalk Dust” broke form in Atlanta in a big way, going unfinished into “What’s the Use?.” The next two versions, in St. Louis and Colorado, went in totally different directions, culminating with Dick’s masterpiece.

“Tweezer” — Also seen in an article of its own, “Tweezer” not only made the all-star team, but also took home the comeback player of the tour. Going 4-for-4 on the tour, “Tweezer” rolled out only great jams this tour, a welcome change from recent runs. From the darkness of Bill Graham’s to the bliss of Kansas City and Charlotte, “Tweezer” covered a lot of territory over Leg Two, and it is great to see the old dog gain this honor in 2012.

“Light” — If Phish had only played the Dick’s “Light” this tour, the modern jam vehicle would have a legitimate place on this squad. But in addition to this version of instant legend, “Light” also produced the moment of the summer, and arguably, the tour’s second best jam in Bill Graham finale. The other two times out, in Atlanta and Oklahoma City, “Light” had its least potent outings of the entire summer, but with Dick’s and BGCA’s versions, “Light” has captured another first-team All-Star selection, and is in the conversation for MVP.

“Rock and Roll”— “Rock and Roll” got the Leg Two party started in the LBC with one of the jams of the tour—a 25 minute, multi-thematic leviathan that showed Bieber his maker. Phish followed up the tour-opening standout with one of their most coherent and transcendent jams of Leg Two in Oak Mountains second-set opener. “Rock and Roll” only came out one more time in Leg Two—an innocuous mid-second-set rendition in Oklahoma City. But in such short tour, two top shelf excursions equals an All-Star berth.

“Golden Age” — The fifth spot on this team could go to any one of three different songs. “Golden Age,” however, gets the nod on the strength of two great jams, in Atlanta and in Colorado. Atlanta’s version is one of the dark horses of Leg Two, and Dick’s versions has gone incredibly underrated due to the monstrosity of the “Light” that followed.

Honorable Mention:

“Sand” — Despite Denver’s all-timer, Phish infused far less creativity in the three other versions of tour, falling back on Trey solos each time. Losing quite a bit of bite from Leg One, “Sand” still had what it takes to claim an easy second team berth.

“Ghost” — Long Beach saw, arguably, the “Ghost” of the year, and Dick’s version closed tour with a scorcher. But there was a lot of time in between.

“Piper” — Phish never truly let loose on a “Piper” during Leg Two, with its most pronounced version taking place in the tour closer. Another strong, but underdeveloped version came in Kansas City.

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AUBURN HILLS ’97 GIVEAWAY!

12-6-97 The Palace

Thanks to Phish’s home offices, I have five download codes for Phish’s brand new release of a legendary show—December 6, 1997, at the Palace of Auburn Hills, Michigan. This is a top fiver for me, and one of the best shows of 1997. This show has been begging for Fred Kevorkian’s remaster treatment for quite some time, and I’d like to thank archivist, Kevin Shapiro, for finally gracing us with this treasured nugget of Phish history!

To win one of these five download codes (mp3 only, sorry), Tweet me (@mrminer) a one-Tweet description of the second-set opening sequence, “Tweezer > Izabella.” Please use the hashtag #palacegold. I will RT the six winners at 12 noon PST and Direct Message you your winning codes!

So much attention has been lavished on the Bill Graham and Dick’s shows that I decided to select jams from the week in between the three-night stands for this week’s playlist. Additionally, I chose to skirt any jams I have featured in articles or have written about specifically, so hopefully there is something new for everyone in today’s selections. Enjoy the weekend!

Buried in the least impressive second set of Leg Two was this ambient “Simple” jam that came a bit late to salvage things, but has plenty of post-tour playback value. The band trickled out of Trey’s solo and into a near-beatless realm anchored by ethereal harmonies. Painting a crying solo over the band’s drone canvas, Trey added an emotional thread to the abstract conversation. Speckled with loops and effects, this piece evoked the feel of Bay Area psychedelia and is probably the most undersold jam of the tour.

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As Leg Two turned towards Colorado, this “Rock and Roll” had my vote for jam of tour. Once springing the piece from high octane rock textures, the guys moved into a clavved-out section of darkening percussive grooves. Trey carved out a sinister solo atop this momentum-filled segment, but when the band seeped out of this faster section and Fishman hit a medium-tempo groove, the quartet converged in a dreamscape of bliss. The second half of this jam is one of the most heavenly passages of Phish music this year.

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For whatever reason, Lakewood doesn’t stick out in my mind when thinking back over Leg Two, but the show had two outstanding second set jams—“Chalk Dust > What’s the Use?,” (featured yesterday) and this “Golden Age.” The band dialed it back a bit on their new-era cover this past leg, but certainly not on this night, as they dove head first into an expedition in robofunk. Trey turned to his signature, Fall ’97 guitar scratches as Mike took over with envelope-filtered bass leads. This groove template actually popped up a few more times over the rest of tour, specifically in Dick’s “Chalk Dust.” Gordeaux forged forth on his bass led jihad, while the rest of the band danced gingerly around his atomic leads. Rarely did Phish give themselves to this type of focused rhythmic excursion over a blissed out leg two. After demolishing the dance floor, the band oozed into a storage-laced comedown that likened a soundtrack to the underworld. With so much to listen to, this one can easily get lost in the shuffle. It shouldn’t.

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Phish played, arguably, the greatest “Limb by Limb” in history, rivaled only by 12.3.99, and nobody seems to be talking about it. Following a seamless stretch of music lasting almost forty minutes, when the guys started “Limb,” it felt like a cool down selection. But it turned out to be the highlight of the show. The band burst into wide open territory, when Trey hit an evil lick in the middle of the normally temperate jam, things got buckwild. Completely exiting the song structure and into one of the most compelling 2012 passages of music that didn’t take place at Dick’s, the band dove into deep waters. (Something many fans wish they would do more often with “Limb.”) Peaking the jam with a dramatic six-string expose, Trey took this one to the top with a rocket on his back. The St. Louis “Limb” is on the level of anything from summer tour. Simply awesome Phish.

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Although “Chalk Dust Torture” had been a Phish staple from the early 90’s onward, never leaving regular rotation, it had rarely been used as vehicle for exploratory jamming. While a handful of versions popped off through the years—most notably Camden’s ’99 masterpiece—“Chalk Dust’s” remained a high-energy rock song throughout the band’s career. Over leg two, however, that pattern changed dramatically. Hosting three outstanding jams in its last three appearances of summer, “Chalk Dust’s” quickly became a Leg Two All-Star. Only once, however, did Phish extend “Chalk Dust” from its normal jam within the song, twice preferring to improvise out of its ending. But any way you cut it, “Chalk Dust” gave birth to a trio of stellar excursions during Leg Two that deserve inspection.

Following a standard shredder at Bill Graham and a particularly heavy-hitting, show-opener in Kansas City, when Phish tore into a late second set “Chalk Dust” in Atlanta—literally, the 400th of their career—it felt like they had hopped the train to Fizzletown. Not long into the jam, however, Trey elevated the chugging rhythms with cathartic melodies, coaxing simultaneously stunning piano leads from Page. Fish and Mike were right there without missing a beat, and Phish set the controls for the outer realms of the galaxy. Transforming the normally benign single into thrilling, multi-dimensional journey, the guys finally landed their musical spaceship on a far away planet, and as they climbed down to the surface to explore the new land, Trey hit the opening lick of “What’s the Use?” A totally under-appreciated nugget of gold, this “Chalk Dust” jam foreshadowed what was to come for the rest of tour.

9.2.12 (Michael Stein)

The next time Trey called for the Picture of Nectar classic was in the unassuming slot of second set opener in St. Louis. It seemed like things would stay in bounds this time, but as the band wrapped up the song, they awkwardly bounced off the final downbeat and into uncharted waters. The guys came together quickly in a section of high-speed groove before Fish steered the ship towards calmer currents. Within seconds of this change, Phish immersed the arena in an ethereal and emotional open jam. Like hitting a switch, the guys jumped into IT out of nowhere. Trey spoke the words of the universe through his guitar in this understated and underrated passage. After a short, but engaging, full-band jam, Trey seamlessly wove the opening of “Frankie Says” into the mix. The band would fuse three more songs onto this opening couplet before stopping for a breath, and the most memorable chunk of that entire stretch was “Chalk Dust.”

8.25.12 (Ryan MacNeill)

When Phish got to “C” in the “F.U.C.K. Y.O.U.R. F.A.C.E” show, they had just finished playing second set versions of “Farmhouse” and “Alaska.” With only “E” to go, and few possibilities therein, “C” had to go huge. Thus, when the band started “Chalk Dust,” it seemed like yet another surprise call, but when considering its Leg Two action, it immediately felt like the natural choice. Even before this jam ended, Dick’s “Chalk Dust” had broken all barriers, capturing the heart of everyone in the stadium and beyond, and contended with Camden for the all-time number one version. You can pick your favorite, but this one is mine. Blasting out of the end of the song, much like St. Louis (and with far more precision) the band took little time to switch from from down-your-throat rock and roll into a hard groove collaboration that brought echoes of Atlanta’s “Golden Age.” Trey sliced and diced the music with rhythm chops while Mike threw down commanding leads that directed the beginning of this unforgettable jam. In no time, the guys were fully locked and moving as a single unit through hyperspace. Riding this four-man momentum, Phish shot through any conventions and into totally original music on the back of Trey’s most impressive melodic themes of the summer. This was the stuff of instant legend; musical glory of the highest degree. And to finish things off, they moved into a looped out, intergalactic, bass-led denouement that settled into a quiet outro and a massive ovation.

1990

Coming to life in the final week of the season, “Chalk Dust” added a colossal surprise to summer tour’s long list of riches. The use of their anthem about youth angst as a exclamation point on their best tour in ages, held a certain irony for the guys as they cranked out some of the best music of their career while pushing fifty. On top of their game and as enthusiastic as ever, if one thing can be said about the guys in Phish, they are—most definitely—living while they’re young.

Despite the non-stop highlight reel went down in Denver to close Leg Two, the single, most powerful moment of the entire summer took place two weeks earlier in San Francisco. As the band sat smack dab in the middle of their best set in ages, something special happened in Bill Graham Civic Center. A friend described the moment that Trey peaked August 19’s “Light” as 7,004 people reaching orgasm at once. At first, his description seemed like a crude metaphor for such a metaphysical occurrence, but on second thought, it accurately conveyed the intensity and mind-blowing nature of an indescribable experience. When thought of in such terms, the preceding thirty minutes of “Crosseyed > Light” had been most provocative foreplay of the year, and the band had us in quite a compromising position.

8.19.12 Official (K.Taylor)

Settling “Light’s” airtight jam—momentarily—onto a quieter plane, the guys subtly started a “Tweezer Reprise” progression. They had dropped a gem of a “Tweezer” on Friday night, but its “Reprise” had yet to appear. It felt incredibly appropriate for the band to punctuate this monumental jam sequence an unexpected, mid-set “Tweezer Reprise!” Page punched at his organ as Phish moved into a high-speed “Reprise” jam. As they smoothly increased the tempo, skillfully pushing the drama of the moment, one could feel the energy build and build and build—not only within oneself, but throughout the entire building—dominating the collective mind. Devilish rhythms framed the sounds that kept building and building and building…Was this happening?!

Page manically clobbered his organ in stride with his mates as they sat on the brink of detonation. But! Instead of cranking into “Tweezer Reprise’s” signature riff, Trey tore into a free form, hard rock lead that poured gasoline on a concert hall packed with blazing embers! The. Place. Fucking. Exploded. Riding this transcendent tsunami, Trey took one breath and sparked the year’s most powerful segue–a musical uppercut into “Sneakin’ Sally.”

8.19.12 (M,Stein)

Though I have been present for more than a few energetic zeniths in my time at Phish, I cannot recall an instance of communal eruption like “Light -> Sally.” Four improvisational Jedis, their spontaneous creativity, and the vitality of 7,000 dialed-in fans converged in a moment unparalleled in recent history. As the band pulled off this staggering maneuver, amazement, excitement, and sheer exultation grabbed my soul and gave it a sturdy shaking. Ages had passed since Phish touched me like this, and I’m fairly sure everyone in the building felt the same. Although the band, arguably, eclipsed their Bay Area performance in Commerce City, no moment of the last decade can match the magic deep within Bill Graham’s finale.

If “Ghost” took home the Comeback Player of Tour award for Leg One, “Tweezer” certainly ran away with the trophy for Leg Two. Phish’s had tamed their exploratory vehicle in recent years, popping out of the box with an outstanding version every once in a long while. The band still wove creativity into each version in spurts, though usually relented to a quasi-standard guitar build, with the potential of something more tacked onto the end. But during Leg Two, “Tweezer” returned to its proper place of prominence with four standout versions, three of which were featured in the second set.

The first “Tweezer” of Leg Two unfolded in dramatic fashion in the middle of Bill Graham’s second set. Following a monster “Disease” and an interlude of “Birds,” one could feel “Tweezer’s” opening notes about to drop. And when they did the tiny 7,000 person concert hall exploded. The intensity throughout the composed section was palpable, as everyone seemed dialed into the energy of the band. Slow and heavy hitting grooves came growling out of the gate as the band hooked the undersized crowd with their larger-than-life rhythms. Trey integrated a plinko lead and the band was off and running in an infectious opening sequence. Gradually, Trey infused a heavier guitar lead pushing the piece into a more typical “Tweezer” build but once this section peaked, the band pushed forth into the most engaging music of the jam— a looped out, piece of storage-laced, bass-led psychedelia. The most experimental music from any “Tweezer” this tour, this sequence stretched further into legitimately abstract planes before slipping into “Twist.” Overshadowed due to its placement at the beginning of tour, Bill Graham’s “Tweezer” was as good as any played on Leg Two.

8.19.12 – Bill Graham (Michael Stein)

As the band flew from the Bay, they landed in Kansas City’s Starlight Theatre. To greet the Heartland in their first visit to the historic venue, Phish dropped a “Tweezer” to open the second set, and what blossomed was a thing of beauty. From note one of this jam, Phish had the course set for the heart, patiently laying down the foundation for a blissful excursion. Playing with a melodic sensibility, the band shied from outright groove for realms of the divine. This laid back music merged seamlessly with the gorgeous summer night, and on a dime, the entire band turned to an uplifting theme. As if whisked away on a magic carpet, the guys, with the audience in tow, took off for the heavens. Reaching a hugely cathartic peak, and sitting in IT for some time, the band, and Trey, specifically, poured their soul into this version, providing an 180-degree turn from Bill Graham’s darker concoction. Trey slayed heart-wrenching melodies while leading everyone to the mountaintop in my favorite version of the year. The band remained in orbit, hovering in a sparkling, ambient place, before seamlessly merging with “Piper.”

9.1.12 – Dick’s (Graham Lucas)

The next time “Tweezer” popped up was in the middle of a second set “Mike’s Groove” in Charlotte! The surprising placement only added excitement to the opening section as the band and audience, alike, prepared for takeoff. Splashing into the jam with a buttery groove, the guys immediately felt connected as they surfed a mellow opening wave. At a particular juncture within the whole-band exchange, Trey held a long sustained note and then launched into one of his greatest guitar solos of the year. Moving through several distinct themes within a blissful escapade, Red took the helm as his bandmates crafted the perfect pillow for his golden melodies. Inspired and letting IT flow, Trey, for a second consecutive version, took “Tweezer” into incredibly emotional domains. Turning into the centerpiece of the set, this jam provided the highest high in Charlotte’s Sunday night affair.

The final “Tweezer” of Leg Two—the only first set rendition of tour—came as the surprise third song in Dick’s second show. Though not as developed as the previous three second-set versions, this jam held its own just fine. Opening with a smooth and relaxed groove session, Trey turned the swank up to eleven with an assault of rhythm licks, the likes of which he rarely treats us to these days. Easing into more typical “Tweezer” territory out of the crack-like opening, the band moved steadily through a solid build-and-peak before Trey returned to the “Tweezer” lick, seemingly signifying the end of the jam. But the band moved right beyond this, oozing into a spacier, groove-laced denouement. This segment seemed, momentarily, like it was heading towards a Bill Graham-esque jam, but Trey came in with “Fluffhead” to keep the first set moving, and thus ended “Tweezer’s” summer.

8.26.12 (R.MacNeil)

It had been quite some time since Phish consistently infused “Tweezer” with creativity and original playing, but within a powerhouse second leg of Summer Tour, the band applied several of their modern sounds to their vehicle of lore. Crafting four unique versions that each possess start-to-finish playback value, Phish brought “Tweezer” back to significance in big way over Leg Two. With one version left in the year, most likely in The Big Apple, perhaps that monstrosity of a “Tweezer” that has been looming in MSG’s rafters since the band’s return will finally drop in all of its urban grit and glory. But I digress. Needless to say, among the many developments along the plot line of Leg Two, the return of “Tweezer” stood out as one of the brightest.

This summer, if one thing was evident from Worcester to Denver, Phish felt great. Filled with joy, their positive emotions permeated their music all summer long, redefining the meaning of “Bliss Phish.” Where improvisational segments once turned towards the dark and ominous in such pieces as “Tweezer,” “Ghost,” and “Rock and Roll,” this summer,the band veered for the light in almost every instance. Thus, Summer 2012—especially Leg Two—was largely defined by these uplifting, melody-anchored escapades.

The Long Beach “Ghost,” KC’s “Tweezer,” Alabama’s “Rock and Roll,” Charlotte’s “Tweezer,” Dick’s “Undermind,” “Chalk Dust,” “Light,” and “Sand” head the top of this tour’s bliss jam class, and herein lie many of tour’s most magical moments. The joy and light that lives within every one of us recognizes these similar vibrations released by the band, resulting in truly heart-opening experiences. While I’m all about dark Phish jams, more often it is a bliss jam that connects one to the infinite. Why are so many people still reeling from Denver’s tour closing three-night finale? One reason is because so many of Dick’s jams elevated to this place of communal reverie, creating experiences more powerful and inspiring than normally outstanding Phish jams. The band was tapped into IT, creating more than music in the Rockies. They were harnessing universal messages from beyond everyday comprehension and channeling them through their instruments. Finally stepping out of the way, the guys were conduits in Denver, as Trey often talked about in the mid-‘90s, allowing life’s energy and sounds to flow through them. And that made all the difference.

8.19.2012 San Francisco, CA (Michael Stein)

Most of the issues fans have pointed out in this era—rocky transitions, odd song selection, ripcorded jams, fizzling sets—have, arguably, come from the band overthinking things and not letting IT flow. On this past tour, however, that problem vanished in the air, as Phish glided through a fortnight of dreams. When thoughts cease, the false self dissipates and truth arises, and throughout Leg Two—specifically in Colorado, we experienced the truth.

6.19.12 – Portsmouth, VA (M.Stein)

At so many junctures during Leg Two, where Trey used to bail, he persevered, breaking down improvisational walls that once constrained him. And with the cooperation of his ready-to-jam bandmates, the guys formed excursions that shot arrows through our hearts all tour long. Phish’s good feelings didn’t only effect open jamming, but was infused into each “Harry Hood,” “Ocelot,” “Maze,” and even “Golgi Apparatus” that they played. The band was in the moment all tour long, and every second felt as important as the one before.

Music reflects the people and environment from which it is created, and with Phish and their fans teeming with joy all season long, everything clicked on Leg Two, resulting in a wake of euphoric music. As the band criss-crossed the nation with an absurd quickness, each night they were able to slow everything down, and take it one measure at a time. This commitment to improvisational patience combined with the gratitude, celebration, and appreciation that wafted through the air at every show, created a magical mixture that pointed the band towards catharsis more often than not. When it comes down to IT, music is all about feeling, and throughout Leg Two, things had never felt better.

More than a week has passed since tour’s finale and I still can’t get these Dick’s out of my ears! It’s been all but impossible to listen to anything else from summer tour, as Phish hit a new level of playing over Labor Day weekend in Colorado. The band finally got there this past tour, crafting thematic journeys that stretched over long periods of time, always connected by innovative ideas. Seldom did the guys shy from improvisation, and more often than not, they saw excursions to completion. Phish even beefed up the back end of many second sets this tour, tying up almost every loose end from 2011. With the band back on the train like never before in this era, everything came to a head at Dick’s, where timeless music unfolded all weekend long.

The opening of Denver’s Labor Day stand has, within two years, has grown a tradition of setlist trickery. Last year, the band composed a show of songs only beginning with “S,” but this year, they one-upped themselves, spelling out “F.U.C.K. Y.O.U.R. F.A.C.E.” in a twelve-song show! Forcing their own hand, the band jammed their proverbial faces off, crafting the show of the year. With two epics in each set, Phish rarely throws ’em down like this these days, and the quality of playing was to-die-for. When “Carini” erupted only three songs into the show, Phish turned the Hose on full blast, and left it there for the weekend. When the dust settled on August 31, “Carini,” “Undermind, “Runaway Jim” and “Chalk Dust” had vaulted into their groups of all-time versions, respectively.

9.2.2012 (Michael Stein)

Though the first night took the cake for the show of the weekend (and the year), moments everyone will eternally remember were the 23 plus minutes of Saturday night’s “Light.” A showcase of improvisational mastery like few others, the band morphed through several stunning jams with a criminal smoothness, arriving in a final sequence that put the icing on the cake. Spanning almost everything Phish does, this jam sprung into the band’s elite performances of all time (top 5?), and ran away with “Jam of the Summer.” This “Light is so good, in fact, that its preceding “Golden Age > Caspian”—a pairing that contained top-shelf jamming throughout—is getting thoroughly overshadowed. But this set-opening combo should not be sold short, as it certainly features Dick’s-level playing throughout. And what a “Caspian!”

Colorado Print (Masthay)

The band finished things off Sunday night with the set of the weekend, a seamless masterpiece highlighted by summer’s final “Sand.” The jam was chugging along with its usual, sinister groove when the band soared off course and the universe split open and melted all over the stadium. Veering into legitimate open jamming for the first time ever within “Sand,” Phish crafted one last piece of blissful, transportive music to punctuate the weekend. Turning quickly from hard groove into an ambient space, “Sand” immediately elevated into the heavens, riding a mid-tempo wave of glory. Passing through a massive rock peak, Phish places “Sand” on the top-shelf of Dick’s jams, but they didn’t slow down for a minute. Sculpting almost an hour of full-on improv, the guys backed up “Sand” with a seething “Ghost” that crept into a circusydelic “Piper”—all connected with meticulous care.

It’s hard to remember another run like Dick’s 2012 since the band came back in ’09. That’s because there hasn’t been one. Leaving us with a more all-time Phish jams than the rest of Leg Two, combined, Dick’s shattered anyone’s loftiest expectations. Providing a musical expose like none in memory, one might have to go back to the late-90s to find any arguable parallel. As I said after Worcester, 2012 is a great time to be a Phish fan, and at the summer came to a close in the Rockies with a phenomenal “Harry Hood,” this sentiment resounded through the mountains and valleys. And it was good.